Übersetzung folgt in Kürze…

The „oK.v00x“ Series

In the series „oK.v00x“ Joerg Staeger focuses on the phylosophical concept„Organloser Körper“ (oK) / „Body without Organs“.
The „Body without Organs“ (French: corps sans organes, German: organlose Körper) is a concept used by French philosopher Gilles Deleuze. It usually refers to the deeper reality underlying some well-formed whole constructed from fully functioning parts. At the same time, it may also describe a relationship to one’s literal body. In brief, the body without organs (or BwO/oK) is best understood as the way of conceptually emphasizing dimensions of embodiment beyond organization, or in other words of looking at how different kinds of bodies become organized, rather than thinking of them as static, already-organized wholes.

During the studies of the concept a series of works were created, using mainly abstract, free of symbolism, moving graphics and images, outside of any determination, a continuum of pure intensities, particle systems based on fragments of animated drawings of Henri Michaux (* 1899 – † 1894), macro video shots of various plants, digital footage of natural phenomena, MRI scans of parts of the human brain and body and numerical series of human chromosomes and much more.

The work resulted in varios installation and performances in collaboration with the german composer Markus Muench. In the live performances Networked Performance technology is used to combined and synchronized sound and images live. Interactive interventions are an important part of the performance and make real-time manipulation of the moving images possible. Improvisation in picture and sound form an essential part. Prefabricated material and real-time generated sequences are fired synchronously to the sounds, manipulated live, modified and combined. The image responds to the sound, and is expanding spatial limits their original context. The terms synaesthesia and intermediality plays a formal and substantive role.

„oK.v004.strata“

From the surface, layer by layer, to the depth of the inherent world. Encounter. Every encounter implies a process of becoming and each becoming can not come about without meeting. As long as we reduce the other to an experienced past and only recognize it as such; as long as our relationship is governed by a habitual and regulated coexistence; and as long as we attach ourselves to our identity, without allowing changes, as long as neither becoming, nor marriage, nor encounter is possible.

Immanence (Latin in manere, stay inside ‚, adhere‘) is the quality of being contained within, inherent, or remaining within the boundaries of a person, of the world, or of the mind.
Skin is considered both an organic and an only in the imagination existing condition, it is a protection structure of our individuality as well as first instrument and place of exchange with the other.

On two opposite positioned translucent surfaces he projects on each circular, constantly changing structures that seem a foraminous texture microscopically to enlarge. The images are based on physical simulation of lacerating surfaces. If the tension gets too high, the surface is torn and a new layer will be revealed.

The projectors are mounted on the rear of the respective projection. The coloured light passes through the projection from the top back and appear as oval light cones merging on the floor. By tearing apart of new layers again and again, new and unrepeatable compositions of image and sound are created.

Entering the installation, you will be at once light-like part of an equally fascinating and inscrutable process natural-like self-organization of moving images and sound. Behind each layer is another layer, on and on….
The soundscape is based on and/or consist of a children song or a lullaby.
A child in the dark, gripped with fear, comforts himself by singing. Lost, it takes shelter, or orients itself with its little song as best it can. The song is like a rough sketch of a calming and stabilizing, calm and stable, center in the heart of chaos.

On „oK.v004.strata“ Joerg Staeger is working together with the German composer Helga Pogatschar on the musical part of the installation.

Installation Space

The installation would work best in an alley or passage with (Adobe-)walls on left and right side. The area should be dark or as low as possible of ambient light

Mounting possibiltiies for 2 projectors as shown in the drawing are essential.
This includes the hanging (on thin nylon cords) of the translucent fabric screens.
A white floor covering with good projection capacity.